This article provides, for the first time, a detailed and authentic account of the genesis and planning of the Somali Expedition, derived from previously unresearched documents in the Oriental and India Office Collections of the British Library, and supplemented by material from the archives of the Royal Geographical Society. The author has sought to give the subject a wider historical perspective than that provided by Burton, by including details from the works of earlier travellers in the north-east region of Africa such as James Bruce, Lord Valentia, and Henry Salt, which, to a greater or lesser degree, have a bearing on Somalia. He has also touched on the ‘Eastern Question’, especially with regard to Muhammed Ali's territorial ambitions in Arabia, which was an important factor in the British decision to annex Aden in 1839, leading inevitably to the development of an important relationship, both commercial and strategic, with the Somali coast across the Gulf.

The article examines the material relating to the early reception of the eighteenth century Hindi poet Ānandghan (Ghanānand). Ānandghan's poetic ideas were not far from those expressed in Persian literature, popular at that time in India. Apart from an abundance of idiomatic usage and paradoxes his approach to love reflects his taste for Persian poetry: the beloved can be either a woman or an undefined God, or even Krishna. Ānandghan's ‘openness’ towards Persian poetry earned him disrepute. In this article three early schools of criticism of his quatrains are distinguished: those of his opponents, of his fellow-devotees and of Brajnāth, the secular connoisseur. All three parties expressed their views on Ānandghan through poetry sometimes employing bitter or pungent language.

The Pudu Mandapa (‘New Hall’) in Madurai is one of the best-known monuments from the Nayaka period of Tamilnadu (c. 1550–1700). It was built around 1630 under the patronage of Tirumala Nayaka as a major addition to the Minaksi-Sundaresvara temple complex that dominates the centre of this major Tamil town and Hindu pilgrimage centre. The Pudu Mandapa is well known in the West from the aquatint produced by Thomas and William Daniell, but this is only one of numerous other illustrations by Western and Indian artists in the late eighteenth and early nineteenth century of this single Tamil temple structure. A discussion of the Pudu Mandapa as an example of a major architectural type, the festival mandapa, is followed by an examination of the structure's architectural sculpture. The final section discusses the Royal Asiatic Society's collection of drawings of this mandapa and the European documentation of the south Indian temple more generally.

The Buddhist saints, that are the subject of this article, are known from a series of inscribed reliquaries collected by Alexander Cunningham and F. C. Maisey at Sanchi and neighbouring sites in central India. The inscriptions, dating to the circa early first century BC, have been known since readings of them were first published the mid-nineteenth century. The detailed re-examination of the records presented in this article shows that the reliquary inscriptions give special prominence to five Buddhist saints. The names given correspond to the five missionaries who, according to Pali sources, were sent to the Himalayan region at the time of the Third Council in the mid-third century BC. This indicates that (a) the Hemavata school was responsible for the re-vitalization of Sanchi in the post-Mauryan period and (b) that there was a well-established tradition about the nature of the Third Council in the first century BC.